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DESIGNING EXPERIENCES FOR RIO 2016 SPECTATOR JOURNEY How to design brand experiences during the Rio 2016 spectator journey to enhance Rio’s Olympic Experience and to deliver long lasting memories

Cilas Cilas Nascimento MA Design & Branding Strategy Tutor: David Humphries


TABLE OF CONTENTS 2

03 - Executive Summary 04 - Abstract 05 - Aim, Key Question, Objectives 06 - Introduction 08 - Methodology 12 - Findings 69 - Discussion 80 - Recommendations 88 - Conclusion 90 - References


EXECUTIVE SUMMARY

This study investigated experience design aiming to deliver brand strategies to enhance spectator experience while travelling to a venue of the 2016 Olympic Games in Rio de Janeiro. It examined experience design literature, journey to big events and case studies. In the same vein, it was conducted interviews with expert from Rio 2016 and London 2012 projects. After analysis of the collected data, the research developed a framework to be used to design experiences balancing Rio 2016 and Sponsors values. Achieving the aim of this research, it recommended a brand strategy that take into consideration consumers experience demands, the characteristics of three novel means of transportation for the system of Rio de Janeiro and experiences design. Resulting in a strategy that explores the Rio 2016 spectators senses to deliver to them a meaningful experience that lingers in their memories.

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ABSTRACT 4

To answer how a brand experience during the Rio 2016’s spectator journey can enhance Rio’s Olympic Experience and to deliver long lasting memories, this research aims to develop experience design strategies to be applied between the moment that they leave the start point until reach the Games. For it, the research used Design Council methodology, Double Diamond. Firstly, the “Discover” Stage was responsible for collected data necessary to answer the objectives of understanding the Rio’s novel transport system for 2016 and discovering the scenario of Rio 2016 to further critically analyse. On the top of that, at this phase it was possible to figure out the current status of Brazil country brand & image. Secondly, the collected data based the definition of “The Opportunity” of this research. Then, to seize this opportunity, the “Develop” step focused on analysing experience design practices/tools at big entertainment events. In addition, through the outcome from experience design literature, it was possible to develop a bespoke framework for

designing experiences during 2016 Olympic Games. Last but not least, in the forth stage of the methodological process it was possible to deliver a brand-driven experience design strategy to be applied into the spectator journey. Thus, after achieving the objectives proposed this research recommends a set of strategies to Rio 2016 and/ or its sponsors explore the spectator senses and create a meaningful unique experience, and consequently, deliver long lasting memories of the experience.


Aim

To develop a design strategy to enhance the spectator Olympic experience during its journey until reach the Games venues and deliver long last memories.

Key Question How to design brand experiences during the Rio 2016’s spectator journey to enhance Rio’s Olympic Experience and to deliver long lasting memories

Benefits & Beneficiaries

The principal beneficiaries of the result of this research is Rio 2016 organisation and its sponsors. Because they are the main actors of the experience development. In addition, Brazil and Rio de Janeiro will also indirectly be benefit. Due the spectators will have experience during the major event ever host there. Enriching their touristic experience and the enhance their brand and image.

Objectives 1 - To understand Rio’s novel transport system for 2016 As Rio de Janeiro adopting new means of transportation it demands an understanding of this new transport system.

4 - To analyse experience design practices at big entertainment events Examining and analysing experience design event practices , are important to evaluate the viability of implementation of experience.

2 -To discover and critically analyse the Rio 2016 scenario The experience aims to be the first contact with the Olympics during the events day. In that way, the customer have to receive a unique impact with the values of the Rio 2016. An analysis of the brand, clarifies the project directions and set standards for the development of a Theme, guiding the creation of the experience elements.

5 - To develop an experience design strategy to be applied into the spectator journey The main objective of the research. Create strategies to immerse the spectator into the Rio’s Olympic experience since they leave home until reach the wished venue.

4 - To figure out and analyse the current status of Brazil country brand & image Developing a customer journey experience the country will have its image and brand affect directly. For that reason, it is important to understand how is the Brazil brand and image before the experience adoption.

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INTRODUCTION 6

The steady growth of the Brazilian economy allowed the country to host, in Rio de Janeiro, the 2016 Olympics Games, just two years after receiving another sport mega-event, the football World Cup. As the second developing country from the BRIC hosting an Olympic Games at the last three editions, Brazil achieved an opportunity to develop its own brand and improve this image. Nowadays, according to Simon Anholt (2010) “Brazil is associated with Joy” and as he also argues that the country has a powerful and distinctive image, however it leads to a “party image”. The country now has an opportunity to upgrade its image and acquire the necessary respect to consolidate Brazil as one political and economical powerful nation. As China significantly improved its image after the 2008 Beijing Olympic Games (Chung & Woo, 2011), Brazil is concentrating huge effort to increase index of education and infra structure to welcome the international opinion and prove that the country is strong and able to host more than parties.

The Transport system planned for 2016, have been considerate as the biggest legacy for the city (Oliveira, 2012), an icon of investment on Technical Excellence. At this stage, the spectator travelling towards the venues get in touch just with “Technical Excellence & Transformation”, outlining an opportunity to be added affective values of Rio 2016 expected to be felt just previously and after journey . Reflecting this moment of the country, Beth Lula, Rio 2016 Brand Director, briefing the emblem design, in 2010, stated “Passion and Transformation attributes should be in the brand essence.” Because, as she also said “This is a brand that makes the pages of history and so, above all, this is an inspiring brand that will disseminate Games values, host city values, the attributes, the message we wish to convey to the Olympic Movement and to the world.” In that way, Rio 2016 organisation developed four Brand Pillars. They have as one of their objectives: offer to the Olympics commercial partners an opportunity to associate their brand to the event.


This association is really important to seize the opportunity created in Rio’s transport system. The sponsorship brand expressions, applied into Transportation, can create a memorable experience of this part of the Olympic spectator day. Well designed experiences has the power to deliver long lasting memories in the minds of people who live it. Immersing the spectator into Rio 2016 values since home, passing through transportation, until the venues enhance the experience lived in Rio.

For it, this research seek to be aligned to the Strategic Pillars, the current main strategy of Rio 2016. Moreover, studies what elements are necessary to engage the spectator to after, recommends brand-driven strategies to remark the spectator experience of the “most human edition of the Olympic Games” (Lula, 2012)

Source: Abstratil

In that way, every message linked to Rio’s Olympic Experience last long, and captivate people who do not lived it. Because, those people who intensively experienced Rio 2016 became its brand ambassador, talking with property about the mega-event, and in cases of co-branding experiences, giving also genuine testimonials about the values of the sponsors brand.

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The research methodological framework, presented on the following page, highlights how this research was conducted and the methods used for reach the aim of each step.

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METHODOLOGY

Last but not least, this framework was also used for delivering the designed recommendations. In this case, a brand-driven strategy to engage the spectators into Rio’s Olympic Experience.

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Aiming to design a consistent Brand Experience for Rio 2016, for this research was chosen the Double Diamond developed from Design Council (2007). This methodology was the guide to generally understand the topics involved, making it clear enough to define the opportunity for this research. In addition, the Double Diamond assisted the research driving it towards the appropriated literature and selecting the proper experiences examples to seize the opportunity.

Double Diamond (Design Council)


Rio 2016

Interview - Rio 2016 Brand director Literature Review

Brazil Image

Literature Review

Transportation in Rio Literature Review

The Opportunity

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Brand Experience Literature Review

Experience Design Practices Questionnaire Case Studies

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Brand Experience Strategy

Observation Expert Interview Creative Director London 2012

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Describing the research methodology 01 - Discover This first stage focused on understanding three main topics: the brand of Rio 2016, the current status of Brazil Image and the project of transportation for 2016. To understand Rio 2016 since its essence, it was combined primary and secondary research. Besides read the official websites of the first South American Olympics, and read articles about this subject, it was taken an interview with Rio 2016 Brand director, Beth Lula. The interview was a unique opportunity to talk in person in the UK. Through this interview it was possible to understand the Rio 2016 project and on the top of that to realize the importance of the brand essence “Passion & Transformation”. Completing this knowledge step about the Rio 2016 soul, it was conducted a visit to an exhibition in London, called “Passion and Transformation: a unique experience through sport”. There could be noticed how the brand essence have been expressed. 10

Aiming to understand the emblem development this research got in touch with Lorena Castellan, a brand strategist at Tatil, the design agency responsible for developing it. Through the material collected with her, could be noticed how they used “Passion & Transformation” in the core of their design process. After understanding the brand Rio 2016, the next step was discovering the current status of the Brazil Image. For it, this project threw the lights on secondary research. Here a video of an interview of Simon Anholt for tv show, stated the ultimate definition of the current image of Brazil and the impact of hosting World Cup and Olympics for in the country image. Moreover, for better understanding of the impact of hosting an edition of the Olympic games, it was studied also case study about Beijing 2008. The last topic of this discovery phase was responsible for understanding the transportation in Rio wished for 2016. For it, the research focus on find accurate information about it, due it is a project that is currently occurring. The research was successful finding those information via online article, newspaper, and government website.

02 - Define A critical phase of the methodology that all collected data was analysed to define the research opportunity. Through this analysis it was possible to define the spectator journey in three stages. Moreover, connecting it to the Rio 2016 values, it was possible also to determinate where and how they are going to be linked to the journey. 03 - Develop The purpose of the research while reaching this step of the Double Diamond was to develop a way to seize the opportunity. For it, the research focused on understanding what is a brand experience and what brands have been practicing. Literature review was used to understand until what extend experiences designed by brands. Seizing the opportunity of the London 2012 was occurring during the development of this research, it was used an Observation method to analyse the spectator journey towards a Games event. Also connected to London 2012, another method was used, Expert Interview. Aiming to understand how


was the design project for London 2012, it was conducted an interview with Matthew Buckhurst, the Creative Director of FutureBrand responsible for the development of Brand Identity and Design for the Londoner Games.

Sousa (2012)

To enhance the accuracy of the collected information about experience examples, it was conducted a questionnaire with 54 spectators of the last edition of Rock in Rio. This big festival took place in the first venue build for the 2016 Olympic Games, so in that way, focusing on the transportation, it was similar journey experience to that which will occur in 2016.

Interviewee: Matthew Buckhurst (FutureBrand)

Exhibition “Passion & transformation”

Rio 2016 (2012)

Sousa (2012)

04 - Deliver In the last stage of the methodology this research recommends a Brand Strategy be applied in the Rio’s Transportation to enhance spectator journey in 2016.

Interviewee: Beth Lula (Rio 2016)

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01

2016 OLYMPIC GAMES SCENARIO

FINDINGS

RIO 2016

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Brazil is hosting the first edition of Olympic Games in South America and it has a great impact in the local population, in the city and at the Olympic Movement. To understand it and describe the 2016 Olympics Games, the research focused in contacting Tátil Design, the agency responsible for developing the 2016 Olympic Brands and visiting the exhibition “Passion and Transformation: a unique experience through sport”. Moreover, seizing a valuable opportunity, for this research was interviewed, in London, the Rio 2016 Brand Director, Beth Lula. Through 10 years of experience working for the Brazilian Olympic Committee she clarified some issues and validated some points and on the top of that, the talk with her was valuable to understand the history, since the Rio 2016 candidature, of the essence Passion and Transformation.

Passion and Transformation

That is the essence of the Olympic Games in Rio de Janeiro. According to the interviewee Beth Lula, , since the bid for hosting the 2016 Olympic Games, the Committee highlighted that “Bringing the Games to Brazil would represent a two-way transformation process”. The Olympics would benefit the country and viceversa. The Olympic movement benefit Rio boosting the improvement of the city. Social and infra-structure projects have been applied aiming to deliver for the people in 2016 the most unique and pleasant experience. For it, the three levels of government are developing together projects to leave a consistent legacy for the population. As Carlos Roberto Osório stated “Let’s make Olympics with a mark of celebration of Rio de Janeiro, but with long-term goals and a lasting legacy for the city and the country “ (Rio 2016, 2009) On the other hand, talking about Brazilian’s celebration spirit, the country will benefit the Olympic Movement with the “Most human Games edition” (Lula, 2012). Rio 2016


aims to deliver this experience relying on the friendly way Brazilians welcome people, on the harmony between races in Rio and the typical local contagious energy.

Source: Abstratil

Inspiring on Brazilian Passion, Rio 2016 aims to transform the Olympic Movement. For it, will presents to the world that, in Beth Lula words, “Participating in the Olympic Games is a great Celebration�.

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Brandirections

Following its essence, Rio 2016 organisation developed, in 2010, the briefing for its first expression of Passion and Transformation, the 2016 Olympic Brand.

The best answer was given by Tátil Design, the agency responsible for the chosen brand. It used the brand pillars to develop a brand platform, called Brandirections, that aims to guide the creation of brand expressions and experiences. Through the use of this framework, the agency summarized the “Carioca Spirit” into design directions that sculpted the first tridimensional Olympic logo ever. “It’s a sculptural logo for a sculptural city” states Fred Gelli (Abstratil, 2011). In that way, enabling Rio 2016 to offer multisensory experiences with its Brand. 14

Source: Abstratil

Beth Lula in the video “The Role of the Brand” (2010) described four pillars: Contagious Energy, Harmonious Diversity, Exuberant Nature and Olympic Spirit. Through these elements the brand should deliver the experience aimed, the Brazilian spirit enabling the most human Olympics.


Rio 2016 Experiences: Brand Essence being applied From the 2010 until 2012, Rio 2016 had three remarkable applications of its brand essence. The launching of its Olympic emblem, the unveiling of its Paralympic brand and the a Passion and Transformation Exhibition presented in London during 2012 Olympic Games. The two brand launching expressed Rio 2016 essence and gave the firsts hints of how the games in Rio will prove that taking part of the Olympics is a great Celebration. The Brandirections created for Rio 2016 followed the Tátil Agency philosophy “More than design, more than form, each brand must have a soul and a purpose.” (Abstratil, 2011). According to a workshop presentation of the agency, obtained through one of its strategist, Lorena Castellan, the Rio 2016 brand is a connection between “body” and “soul”. Disassembling the 2016 Olympic brand, the essence Passion and Transformation is the “soul” and the shape of the 3D logo is the “body”, born to be experienced.

In the same presentation, the agency showed the first practical example of Rio 2016 Brandirections. The emblem launching. The crowd at Copacabana beach unveiled to the world the 2016 Olympic Games emblem during the 2011’s New Years Eve celebration. Combining the captivating energy of a popular party with different people to the Olympic spirit. The same could have been notice in the following December in the launching of the Paralympics emblem. Rio 2016 presented your essence combined to the Paralympic movement’s values in event of the Lighting of the Rio’s Christmas Tree, the third largest annual event in the city, after the Copacabana New Year’s Eve celebration and the Carnival (Rio 2016 website, 2011). In London, by the end of July 2012, Rio 2016 launched a tangible expression of its essence. An exhibition called “Passion and Transformation: a unique experience through sport”.

how it has transformed the city. The exhibition presents, since the project’s victory day, how its contagious energy has inspired the Brazilian youth, and how the Olympics has inspired the city investing on Technical Excellence to transform the city. In this journey, the promise of brand for multisensory experience is kept. Both Olympics and Paralympics emblem sculptures are presented to be viewed, and felt. The last one, has a special features for disable people feel the brand, the emblem that represents the athlete’s heart flashes and pulses when touched. Sir Philip Craven, the International Paralympic Committee (IPC) President celebrate it “We talk a lot in the Paralympic Movement about spirit in motion and this pictures it perfectly.”

Accompanied by two others exhibitions about design and Brazil, the Rio 2016 one exhibited through the shapes of Rio’s exuberant nature, what is the essence of the Games in Rio and 15


16 Source: Rio2016 official website Source: Tatil design Agency

RIO 2016 PARALYMPICS GAMES BRAND RIO 2016 BRANDS LAUNCHING RIO 2016 OLYMPICS GAMES BRAND

Source: Rio2016 official website Source: Rio2016 official website


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Strategic Pillars Besides the brand platform created by Tátil Agency, another influencing actor in the Rio 2016 expressions is its Strategic Pillars.

This pillars, considered by Nuzman “One of the key outputs of this foundation phase”, aims to uphold all the work involved in Games planning and organization. In addition, due Rio 2016 games receive support from the three level of government, the five strategic pillars are aligned to actions that have been taken to transform the city and to influence the Brazilian youth.

Source: Rio 2016 official website

Pillars that are result from a strategic planning work. “The past 12 months have also seen us complete the Foundation Phase of our preparations, including the creation of a Games-wide planning framework” stated Carlos Arthur Nuzman, the president of the Organizing Committee for Rio 2016 Olympic and Paralympic Games. (Rio 2016 website, 2011)

Carlos Arthur Nuzzman

President of the Organizing Committee for Rio 2016 Olympic and Paralympic Games

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emorable Celebratio M ns t | r |T o p S gh u o

PILLARS ents vem Mo

| Transformatio n t hr

Global image of Brazil Pillar Created to ensure that Brazil will seize the opportunity of hosting the first South American Olympics to promote the country as a dynamic marketplace for corporate sponsors.

STRATEGIC

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Memorable Celebrations Pillar Wish to capitalize the contagious energy of Rio de Janeiro people and raise games festivities to a new level of excitement and universality.

Br az il

Olympi c a nd P a

Technical Excellence Pillar Represents the aim of organizing an outstanding Games and reflects the Rio 2016 determination to deliver a high quality Olympics products and services before and during the event period.

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The five Strategic Pillars defined for Rio 2016 are: Technical Excellence, Memorable Celebrations, Global image of Brazil, Transformation through Sport and Growth of the Olympic and Paralympic Movements. The first three pillars can be highlighted as key experience elements for Rio 2016 Olympics due its characteristics explained as following. (Rio 2016 Strategic Pillars, 2012)

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BRAZIL IMAGE Nowadays, the “strong growth and high interest rates have made Brazil attractive to foreign investors” (FutureBrand, 2012) and it is reflected on countries brand evaluation ranking. According to The Futurebrand 20112012 Country Brand Index, 2014 FIFA World Cup and 2016 Olympic Games, made Brazil a rising star, jumping ten positions on its overall ranking. In this index, the country is pointed as the most promising BRICS country. BRIC, a denomination for the four emerging economies that will shape the 21st century’s economy, is pointed out by Brand Finance Nation Brands 100 as a responsible for facilitate Brazil acquiring a serious power image. The same report describes that “Brand Brazil’s value is supported by an especially strong brand equity score. Brazil’s image abroad is almost entirely positive; though it sometimes struggles to commercialize its reputation as a sexy, youthful, and athletic society” (Brand Finance, 2011).

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Agreeing to that Simon Anholt stated, during an interview to Globonews TV last year , that Brazil has “a very powerful and distinctive image” and he completed, “Brazil image is associate with joy”. In Anholt’s 2010 Nation Brands IndexSM Brazil occupy the 20th place (Anholt-GfK Roper), becoming the highest ranked developing nation. However this position can vary for a better or for a worse position hosting an edition of the Olympic Games.

Challenge

The Brand Finance report affirmed that “Brazil’s economic transformation is turning the country from a glamorous beach into an established centre of the world economy.” That is the challenge. As third world touristic country “joy image” fits very well, but Brazil is passing through a unique moment of development that requires more than it. Anholt pointed it out arguing that Brazil has a “lightweight reputation, an inappropriate image for a country aiming to be an economical and political pillar of the world order.” (2011)

In that way, Brazil have to prove to the world its power and the Olympics will be a great opportunity to it. As China improved its international image after 2008 Olympic Games (Chung & Woo, 2011) Brazil will have the chance to take an advantage of the media opportunity that 2016 Olympics will offer and show to the world that the country is more than a place with “memorable parties” (Anholt, 2011). Remembering, that welcoming the world in 2016 is a risk, the country that relies on the “joy reputation” could damage the current image if the reality presented be worse than expected. Therefore, Brazil in 2016 have the chance to build momentum. Today the country has a friendly image suitable for a touristic country, however to do not be stuck in it, Brazil has the Olympics as the opportunity to gain respect for its industry, politics and populations abilities. In that way, the country obtain a significant place in world order and as the ex sports minister, Orlando Silva, stated “promote a positive image of the country in a wider sense.” (2009)


Simon Anholt Interview

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22 Source: saffron website

CASE STUDY


2008 Beijing Olympic Games Brazil and China are members of the BRIC, the most important emergingmarket economies (Koch, 2011) and both have also common hosting the Olympics recently. For that reason, aiming to understand how hosting an edition of Olympics Games affects a developing country image, was chosen the 2008 Olympic Games held in Beijing to be studied. The assistants professor of two American universities, Louisiana and Wisconsin, developed a research paper proving that“ hosting the Olympics significantly improved the country image of China” (Chung & Woo, 2011). The reason of this special achievement is” hosting a summer Olympics plays an important role in promoting a host country through increased tourism, sales of event-related merchandise and event-related employment” (Kasimati, 2003). Analysing some elements of this case study as the urban transformation demanded to host the mega event and the country opportunity to build momentum, contributed to understand the reasons of hosting an edition of Olympic Games is valuable for a developing country. Furthermore, studying the effects of being a hosting country, clarified how the Olympics boosted the country brand and image.

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CASE STUDY

Case Study

Purpose: Country Image


LONDON 2012 The third edition of the Olympics Games at the English capital brought an emblem designed by Wolff Olins developed to, as it Chairman said, “make these Olympics in 2012 to be noticed, to be different because they are different.”(Boyle, 2012)

“I was at the logo launch and I’ve always loved it” expressed the director of marketing, brand and culture for the London 2012 Games, Greg Nugent, while explaining to the Creative Review his first task in 2009 at LOCOG, the complex development of the Look of the Games. He completed the sentence saying “But doing a look and doing a logo are two different challenges.”

and he sized the challenge “All we really had (by that moment) was the logo. “ Aiming to solve this issue, LOCOG started a partnership with Futurebrand. “They (Futurebrand) came in 2009 and their ambition was to take this beyond the traditional look of the Games” revealed Nugent. [280]

For it, the agency created a logo without London icons representations and sports illustrations. Brian Boyle, during an interview for Fast Co.Design, last August, described the process as following: “The mark itself came from an energy grid we drew of lines that moved around, contained within a rectangle, which we stopped at one particular moment. This was used in a very random way to create a pattern, so this idea of free form is right at the heart of the brand. “ (2012) 24

Source: Creative review (Aug/12)

Wolff Olins working with London’s Organising Committee (LOCOG) defined the London 2012 ambition “These Games were to be everyone’s. They would call on people to challenge themselves – to try new things, to go further, to discover new abilities. “ (Wolff Olins, 2007).


FutureBrand project [354]

The Theme

“The task of promoting the London Olympics is probably the biggest assignment in the history of UK marketing” (Financial times, 2009)

To create a consistent identity for London 2012 the first step was connecting the work of the different agencies of the group to deliver coherent outcomes and achieve the same general objectives. According to Buckhurst, the Theme was created with this responsibility. “It is about making connections. So the things kind of feel they fit together” (Buckhurst, 2012)

That’s the challenge accepted by McCann Worldgroup. The agency group as a provider for the London 2012 Olympic and Paralympic Games involved its six companies into this project, sharing the responsibilities among them, by specialities. As one of those agencies, FutureBrand was responsible for “developing the ‘Look’ of London 2012 and an identity system that works across every touchpoint of this years Olympic and Paralympic Games. “ (Smith, 2012)

Aiming to make the complex simple, was created, inspired on the athletes spirit , the theme “Inspire the nation to push beyond our personal best”. According to Buckhurst presentation, building one theme was important to:

- Unite all different functions and stakeholders across organisation - Connects young people to sport and Olympic and Paralympic values - Give a voice to the inspiring stories that represent those values and helping people share them with each other - Collectively create an extra-ordinary festival of human endeavour

In addition, the FutureBrand Creative Director explained that the Theme created for London 2012 worked like a thread linking the: -Torch relay to the volunteering programme - Look of the games to the way we sell tickets - Website to social networks - Olympic to the Paralympic Games - Sponsors to their customers & to their staff - Londoners and British people to their Games

Buckhurst presented how was the process since receiving the logo from Wolff Olins, passing through the development of the Theme and the Creative Idea, until the implementation.

Source: Futurebrand

Aiming to understand the design and branding of this project, this research had the pleasure of interviewing Matthew Buckhurst, Creative Director for London 2012 at FutureBrand.

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The Creative Idea After the development of the Theme, FutureBrand reached its next step, the development of the Brand identity to be used on every touchpoint. Thus, working with the logo created by Wolff Olins, FutureBrand started the process to define the Creative Idea. For it, it was combined the Theme and the energy grid used on the logo development. The result of placing the logo in the centre of the grid line was a concept of having London 2012 spreading its energy to inspire people. In that way, the Creative Idea was used to with multiple objectives. First to promoted athletes energy to inspire people to push beyond their personal best, and secondly, to connect the world into the Olympics “That burst of energy irradiates lines; and it suggests reaching out the world and bringing the world into London, East End, Olympic Park and ultimately, the athletes on the field of play.� (Buckhurst , 2012)

(source: FutureBrand) 26


(source: FutureBrand) 27


One Look of the games “One of the weaknesses in the Olympic system is that if you look back through its history, the host city ends up with one look, the government has another look, all the individual boroughs all have their own design pieces.“ (Nugent, 2012) Aiming to overcome that weakness avoiding the spectators going through a disjointed journey visually LOCOG accepted the challenge of creating one coherent look for everything Gamesrelated, from the airport to the venue. However, for it, it was necessary for LOCOG “persuade all the myriad organisations with an interest in ‘doing their bit’ for the Games to work together.” (Burgoyne, 2012) To sell the idea Greg Nugent (LOCOG) relied on the FutureBrand ambition of developing in London 2012 the ‘Look of the games “beyond the traditional“. This partnership assisted by GLA head of marketing Dan Ritterband and Tate’s Nicholas Serota, resulted in a threeday workshop in early 2010 with “managed to get 70 representatives of interested parties, from sponsors to the London boroughs and those towns and 28

cities on the Torch Relay route, to the 2012 Festival, the Paralympics, venue architects, the companies doing the scaffolding for the temporary venues and even gardeners from the Royal Parks together in one room” (Burgoyne, 2012) During the workshop, according to the Burgoyne article, Nugent faced some initial resistance, but he successfully achieve his goal. For it, the LOCOG representative, explained that during the workshop, he clarified the options ‘We have two choices, we can either all go out and do our own thing or we can do something that links the whole thing together,”(Nugent, 2012). On the top of that he made his point showing examples from previous Games “like Vancouver (2010 Winter Games)which had a fantastic look in the venues, but the venue look had nothing to do with the city look and the city look had nothing to do with the airport look. I thought we should be approaching this as one.” After, having the general agreement about the (One) Look of the Games, Nugent passed the challenge of “working out what this thing looked like” to FutureBrand hands.

Here comes the Creative Idea. The development of the ‘Look of the Games’ was done upon the strength of this design concept. “The Games stops the world and makes everyone look at one place. It only happens with the Olympics,” Nugent says. “We played with the idea of everyone looking into one place, of the Olympic Stadium being the epicentre of a burst of energy that everyone is focused in on.” The ‘burst of energy grid of lines” was a design element that expressed the Creative Idea on the application at whole London 2012 identity. In addition, according an interview published at Pixeldi, to FutureBrand’s Creative Director Matthew Buckhurst, the ‘burst of energy’ was an inspiring design tool “The grid is used in a flexible and dynamic way, creating shards patterns and textures that radiate from a central focal point. The joy of this graphic device is that it can be adapted across lots of different spaces and places yet remain clearly recognisable and consistent. This means we can tell a single design story, from the seating bowl designs to the patterning on the concourse.” (2012)


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Image published at pixeldi.com

Image published at pixeldi.com

Image published at pixeldi.com


The Creative Idea also inspired the Wayfinding signage developed by Surface Architects. The studio used the ‘burst of energy grid’ to design the signs used inside the Olympic Park. The most iconic signs are “the series of 15 metre tall magenta wayfaring beacons with directions to the venues and exits as well as estimated walking distances between points on the site. This vibrating colour, “as it is one of the few colours not already used on the Tube and signage” (Burgoyne, 2012), become a distinctive asset for London 2012 as this continuously use on all wayfaring as wished by LOCOG that wanted to ensure consistency for all Olympics-related signage, whether onsite or in the city. [725] 30

Image published at pixeldi.com

The grid with multitude of lines that creates shard-like patterns was also an important element of consistency, connecting the Olympics events related as Olympics, Paralympics, Torch Relay and Volunteering Programme (Games Makers). Despite having the same identity each event had it own values as the FutureBrand Creative Director stated “Each has to remain true to the core spirit of the Games but develop a distinct take on it.” (Buckhurst, 2012)


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Image published at pixeldi.com


TECHNICAL EXCELLENCE Rio de Janeiro is suffering a series of structural modifications thanks to the two mega-events to be held on 2014 and 2016. The Rio’s context and the city’s projects of regeneration enable to expect from Rio 2016 similar performance as Barcelona 1992. The two cities passed through hard moments of failing bids to host the Olympic Games that caused a wide support from the population and all government levels. After the cities been selected to host an edition of the Olympic Games, they started similar city’s regeneration projects responsible to deep transformations all over the city. ”Barcelona’s Olympic regeneration is generally considered to have been successful” (Monclús, 2007), due the “focus on providing public space and updating infrastructure” (Smith, 2011). That is the same focus chosen by Rio de Janeiro.

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Novel Transport System in Rio de Janeiro for 2016 One of the most remarkable transformations experienced by the Rio de Janeiro will be the establishment of the new transport system in the city. In spite of the “70% population of Rio use the public transportation” (Oliveira, 2012), just a few percentage of them travel by mass transportation and that’s the main problem to be solved with novel means of transportation in Rio. Regina Oliveira, Rio 2016 Transport Director, emphasizes that “In the next four years, with the interventions in course, we will be talking about an increase from 13% to 46% of passengers that use mass transportation in Rio de Janeiro.” In addition, she completes, “The greatest tangible legacy of the Rio 2016™ Olympic and Paralympic Games will be in transport”. For it, the current transports (subway, train and boat lines) have been improved to build, with the novel transport drivers (BRT and VLT), an integrated transport network.

The people involved with the Olympic Games will be connected to the four competition areas, spread through Rio, mainly via the High Performance Transportation Ring, a network that is going to connect the high capacity transportation systems, such as, railways, subways and BRT system. On the other hand, VLT and regular buses (the not high capacity means of transportation), are going to be responsible to distribute people at short distances and to link them to the “Ring” of mass transportation. At this report, VLT, BRT, and Subway line 4 will be specially studied due the fact that they are new transport system for 2016 and because its importance transporting people towards Barra, an area responsible for hosting the Olympic Park. The first, the VLT, will be the first contact of the people located at one of the Hotels, or at the Media & Referee Villages of the Port Region, the biggest regenerated area thanks to the Games. The second and the third one, despite been used by the VLT passengers, will receive also the visitors from Copacabana region (Southern Zone), an area with the majority of the Rio’s hotels (R7, 2012).

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Source: Rio 2016 official website

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Trams (VLT) As part of the Rio’s large-scale waterfront regeneration project called “Porto Maravilha” (Wonder Port, free translating) , the 2016 Olympic Games, responsible for boosting it, will be benefited by the construction of Media & Referee Village and the adoption of two new hotels. On the top of it, the Olympic legacy will leave to the city the Trams, also called VLT (Light Vehicle on Rails, in Portuguese). For the first time, this means of transportation are going to be part of the Rio’s scenario, aiming to “integrate diverse modes of transportation, such as trains, subway, and ferries”, as emphasizes Jorge Arraes, president of CDURP company responsible for the development of this Port area. The VLT, that will also connect into the system the Santos Dummont Airport, is going to organize the Port and Downtown area. Nowadays, 334,000 people in the morning rush hours arrive in Rio’s Central area from other metropolitan regions and is expected that the same cities will send workforce and audience during the Games. 34

Profile As a medium capacity transport, the Trams are going to take until 450 passengers per vehicle (CDURP, 2011), and the 32 vehicle are going to substitute the traffic of around 2000 buses in the Central Area (Veja Rio, 2012). Emphasizing that the Trams are electric this substitution are going to represent a relevant decrease on the pollution at the region. The adoption of air conditioning at all Trams, will be another benefit for the passengers that nowadays suffer with the buses, that don’t have this service at all vehicles. Distributed through six lines, VLT are going to have a station at each 400 meters, the majority will be open except for three stations. These are going to be big stations closed and directly integrated to stations of other means of transportation (Cidade Olímpica, 2012). Those stations, according to the last version of the project, are going to be key points with a huge number of people connecting people from ferry boats, buses, trains and subways, the last three are going to meet the VLT at the Central Station, making it the busiest one. (CDURP, 2011) {355}


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Tram system’s region, rich historical and cultural area The Rio de Janeiro Port area is witness of the development of the city, and the country. While capital of Brazil, the Rio’s harbours of this region received the material and the workforce (African slaves) responsible for the development of the Rio de Janeiro. Analysing the cultural aspect, this area has a crucial importance for Brazilian history. Because there in the middle of 19th century, at an area called “Pedra do sal” the local residents and dockworkers gathered, influenced by Afro-Brazilian culture, conceived an icon of Brazil, the genuine and famous Samba. (The Rio Times, 2010) However, as the years passed, the slavery was abolished, the Brazil’s capital moved from Rio, and the development of the city was guided towards other areas resulting in a degraded Port area with old buildings, crimes, and bad investment reputation status. A context quite similar to the London scenario before the Festival of Britain (1951) as Andrew Smith, 36

from Westminster University, while presenting the importance of events on urban regeneration projects, highlighted with this testimonial from 1948 “Nobody goes to the South Bank because its nothing but mud and rotting wharves and rubble and industry and warehouses and misery and railway lines. (Herbert Morrison)”. That festival boosted the South Bank area get done by that time and for Rio the event responsible for catalysing the development of its Port region is the 2016 Olympic Games. Due the Games commitments, the three levels of government are investing on a deep and unprecedented transformation of this waterfront area of Rio. Besides receiving some Rio 2016 buildings, through the project “Porto Maravilha” the local’s history and culture have been regenerated. The historical places, palaces and warehouses are passing through restoration projects to make company for two new and iconic museums: Museum of Tomorrow and Museum of Arts of Rio de Janeiro.

Those museums are going to be cultural milestones for Port area. The Museum of Tomorrow, an architectural project from the Spanish architect Santiago Calatrava, will be an experimental science museum designed for the visitors feel the future. Upon a pier on Guanabara bay, the futuristic museum was designed to be driven by sustainability, using sun energy, and water of the bay to refrigerated the building. In addition, the Museum of Arts of Rio will host also an arts school, aiming to integrate the artistic education to the local culture and history. Consequently, both museums and the cultural projects based on the restored buildings are going to attract the Rio’s population and tourists back to this region, rescuing its historical importance. In that way, responsible for distribute the people through the region, the Tram system plays an important role regenerating degraded streets and neighbourhoods and assuming a key role on the regional development.

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Museum of Tomorrow (Calatrava Project) Image published at cienciahoje.com.br

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BEFORE

TRAMS

TRANSFORMATION Images published at economia.ig.com.br

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AFTER


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The Bus Rapid Transport (BRT) The current Rio’s Mayor, Eduardo Paes, at TED talk in California/USA, stated “A city of the future has to deal with mobility and integration of its people”(2012). Upon this inspiring idea the Bus Rapid Transport in Rio has been developed to connect all the trasport systems of the city. For it, the city is investing in the High Capacity Transportation Ring. Created to connect the four Olympic competition zones (Barra, Copacabana, Deodoro, Maracana) the “Ring” has the BRT as its major player.

Profile This innovative transport system uses features similar to railways system as: exclusive (or preferential) roadways; prepaid ticket; non-cost line transfers and quickly embark and disembark in special stations. However, compared with undergrounds implementation BRT system has more benefit because for it “less money is spent and it can be done much faster”(Paes, 2012)

As legacy for Rio, the Olympics will leave for the city 130 km of BRT system and through its articulated buses with capacity for 140 passengers, the trips will take 50% to 60% less. For instance, at the BRT Transoeste line, launched last June, the commuting time was reduced in one hour (JB, 2012). In that way, BRT represents a revolution in transportation in Rio, a transformation on the way Rio’s citizens use the public transports.

Source: Cidadeolimpica.com

Until 2016, BRT’s four lines will modify the city through new express bus corridors and via special stations. These are the part that “design makes the difference” as Jaime Lerner, the urban architect who create this system in 1974, highlights. “[BRT station] gives to the bus the same performance as a subway.” he completes.

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BRT Stations The stations has a important role in this system because they allow the buses take fast passenger transfers at specific points of the city.

The iconic stations are going to be spread through almost all the “Transportation Ring” , in that way, they are going to be part of the Journey to the Olympic Games. The Spectators moving around via BRT system has the opportunity of meeting similar experiences at the several stops presented at all zones of the city.

Source: Cidadeolimpica.com

“It’s like metro-nizing the bus” (Lerner, 2007)

Designed specially to be “the BRT brand for Rio” (Risso, 2011) the BRT stations has LCD screens with bus information and even with the high summer temperature, they are made to be pleasant thanks to an innovative project of natural ventilation that avoid the use of air-conditioning inside the station “Saving energy and preserving the environment“ as the architect Jozé Candido pointed out.

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Underground Line 4 As the VLT and BRT, the Line 4 of the underground have been developed boosted by the 2016 Games. This underground line will integrate the Southern Zone to the Western Zone, the area that will receive the Olympic Park. Representing a mobility transformation in the city of Rio de Janeiro, because by this moment the underground lines are responsible for connecting just the Southern, Central, Northern Zones.

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Profile Underground Line 4 in 16 kilometres of extension will integrate the passengers of the Line 1 (including those that used the VLT) and the passengers starting the trip at the Southern Zone, the area that host the majority of the hotels of the city. Departing at one of the new seven stations, the tourists and the residents of the most traditional and rich areas of the city, will reach the Western Zone in 9-15 minutes, a route that today is made in one hour. (Metro Linha 4, 2012)

On the journey towards the Olympic Park, the spectator disembark at the Western Zone terminal tube station and take one of the buses of the BRT heading to the area of the heart of the Games.


2012 London Olympic Games

Hugh Sumner, director of transport at ODA (Olympic Delivery Authority) stated that “the whole transport operation has to take place while keeping London and the UK moving” (2011) and that’s a close reality to be faced in 2016. London and Rio de Janeiro has a similar challenge, welcome a sudden and huge number of people during a specific and short period of time while the city needs to works as usual.

CASE STUDY

Case Study

Purpose: Public Transport system for the Olympics

At this case study, the ODA director provided an overview of the public transportation project developed to receive the Olympics spectators. In addition, the description of the management arrangements throws the light on how to deal with some transportation issues, giving insights for organising an Olympic Games. For example, adopting practices for encourage spectators to use public transport as the author emphasises “A number of ways to make the spectator travel experience more efficient have been adopted from the start of a spectator’s journey to a venue. For example, the cost of ‘on-the-day’ travel to events in London is inclusive within the event ticket price, in the form of a London Travelcard” (Sumner, 2011). A similar strategy was adopted last year by Rock in Rio, the next case study to be described.

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02

BRAND EXPERIENCE

“The brands that lead in the 21st century will be experience brands“ (2010) That is the vision of Liz Bigham, Director of Brand Marketing Jack Morton Worldwide. At one of her company reports called “Best Experience Brands” this view is explained: “that is, brands that invest in building and continually improving how people experience and interact with them as a point of differentiation from competitors and a reason for consumers to become customers and advocates. “ To understand that proposition, the first step is to define Brand Experience. For the study “What is an Experience Brand” (2010)the author stated “Meaningfully, a brand is a promise - a distinct value offered”, and he goes further, “In the most meaningful sense, a brand is a promise kept - through experiences that deliver on that promise at every point of interaction with the brand.” The interaction with the customers is an valuable experience and a crucial 46

element to determine the strength of the brand. According to Liz Bigham, “Delivering on your brand promise at every point of interaction” is fundamental for being an experience brand. Because, in spite of all the effort spent advertising and talking about the brand, “at the end of the day, what people remember is what they actually experience.“ (Bigham, 2010) To deliver this experience memorry, brand experiences need to be consistent and coherent with the brand values because “there’s huge pressure on every interaction with the brand, every touchpoint (...) to be effective, efficient and aligned with what the brand says it stands for“ (Bigham, 2011) For it, the brands needs to understand “Every interaction is an opportunity”. That is what argue the article “What is an Experience Brand” (2010), highlighting that “In theory, no experience is too small to qualify, but different companies will weigh touchpoints depending on needs, resources and whether they’re a product or servicebased brand, B2C or B2B.“


The importance of Experience “Consumers want and expect brands to provide a unique experience. “ A research with consumers about brand experiences , presented at “Best Experience Brands“, showed that consumers expect it, they would pay more for a unique brand experience and that there’s a big gap between what customers demands and what brands are offering. “Only 26% say that their past experiences have been unique; 62% are looking for that unique experience”. (Iqbal, 2011) “(Customers) reveal an expectation that they should encounter unique brand experiences everywhere, across many different product categories “ So, according to Jack Morton, to fill this gap between demand and offer, companies that aim to build a strong experience brand need to understand the drivers of experience and their impact on customers perception. For it, at their report of 2011, they asked 1,603 consumers (USA, UK, Asia, Australia) to rank the importance of a variety of factors to their experience of brands, and the results are:

TOP EXPERIENCE DRIVERS OVERALL 01 Products and services that meet your needs 02 Understands your needs 03 Continues to serve and engage you after you’ve become a customer 04 Exceeds your expectations 05 Makes it easy to find information and buy their products, wherever and whenever I want to shop

Another point highlighted to fill this brand experience gap is to transform “experience from a marketing channel to a point of differentiation”. (Bigham, 2010) For it, according to Jack Morton, 2010, “Every experience brand must optimize the following core elements:

* The discovery experience

“When top ranked drivers are correlated specifically to those consumers who were most likely to say that unique brand experience strongly influences their brand choice, the experience drivers became more brand-driven and less needs-driven” (Jack morton, 2011)

how people learn about you

EXPERIENCE DRIVERS IMPORTANT TO UNIQUE BRAND EXPERIENCE 01 Initial impression the brand makes on you 02 Continues to serve and engage you after you’ve become a customer 03 Understands your needs 04 Differentiates from similar products 05 Employs people who anticipate your needs

* The community experience

* The customer experience

what happens in store or when customers are in market

* The user experience

what happens after the sale how stakeholders connect with you and one another beyond what you sell

* The digital experience

since mobile devices and computer screens are today’s default shopping mall and town square, and social media is a powerful tool for consumers broadcast positive and negative experiences with a brand

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Benefits of Experience “Unique experience gives the brand clear advantages over competitors. “ “These advantages include: differentiation and memorability in a cluttered and competitive marketplace; and increased brand awareness through resulting earned media and word of mouth” Josh McCall, Chairman & CEO of Jack Morton Worldwide Answering the customers demand for brand experience, the company that invested on it, as McCall described, can achieve results that pays off the investment and generate long lasting benefits for the brands. Jack Morton,in 2010, (at What is an Experience Brand) listed four benefits of being a experience brand, however for this research purpose just three of them are highlighted here.

Customer revenue

Because experience brands do a good job of inviting participation and sharing information, their customer communities are better educated making them better and higher-value customers. 48

Efficiency of marketing spend

Experience brands do things that people talk about and share. They provoke conversation. They have stories that people want to spread. And when they make an investment in creating an experience for the people who matter most to them, those experiences may be experienced by few, but they are witnessed by many. “(...) experiences may be experienced by few, but they are witnessed by many.” (Bigham, 2010)

Customer acquisition and loyalty

Because they promise and deliver a great experience, experience brands win customers more quickly and keep them long-term. Because they invite interaction and engagement, they are able to take people on a journey from relative indifference to commitment and advocacy more quickly than other brands.


Designing Experience “People give meaning to their lives through experience.“ (Cox, 2008) An experience, is highlighted by Boswijk, et. al., (2007) as an element that “has evolved to have deeper significance for individuals.” and they define experience as, “an immediate, relatively isolated occurrence with a complex of emotions that make an impression and represent a certain value for the individual within the context of a specific situation.” For Pine and Gilmore (1999), another actor that plays an important role on experiences, is memory. They observed

PROCESS OF EXPERIENCING Lisa Cox 2008 based on Bowsijk et al. (2007)

“the value of the experience lingers in the memory of any individual who was engaged by the event” In addition, they completed stating that besides being memorable the “experience must be emotionally meaningful for individuals. “

On the top of that, about the development of experiences she stressed “This is the fundamental objective of the design of experience; to create meaningful events that evoke emotional reactions in individuals” (Cox, 2008)

In that way, the research threw the lights on understanding why a memorable and meaningful experience is valuable for customers.

Focusing on this objective, Lisa Cox upon Boswijk et al. (2007) described the process of experiencing as following”

Aiming to answer it Lisa Cox (2008), affirmed “People give meaning to their lives through experience. Before we are consumers or employees we are first and foremost a unique being with unique longings, needs and motives.”

Experience

Sensory Perception

“Experience also evokes our emotions beginning with our biological and sensory perceptions. Through our senses we gather impressions of people, events and things around us. These emotions inform, lead to and create our meaningful experiences.”

Emotion

Meaningful Experience

(see, smell, feel, hear, taste)

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Design Experience for Big Events To understand experience design practices at big entertainment events was chosen a literature focused on events. In that way, it was possible to acquire a holistic approach of the subject and realize the importance of experience design for events. At the book Events Management: An introduction, the authors emphasizes that “Events are experience for those who attend them” (2012), and attending, according to them, offers a particular experience that cannot be gained elsewhere, that’s explains why people decide be part of Glastonbury music festival despite the extensive television coverage. This effort taken to feel the event experience can be capitalized by the event promoter brands. Because, according to Jensen (1999) “ as consumers of such experiences, we seem to be living in a developing ‘dream society’, where our perceptions of value, recognition of rarity and willingness to justify premium expenditure focus on the ability of successful business organizations to produce unique customer 50

experiences”. Thus, can be designed a guideline of how costumer consider the whole experience remarkable. To design a relevant and consistent experience is important to have a Theme. According to Getz, on Events Studies (2003), “A ‘theme’ is a unifying idea or concept, which gives meaning to the event or is the object of celebration or commemoration”. Following this definition, is able to engage customer into experiences based on the event theme and promote product and services, developing the Experiencescape (Bladen, Kennell, Abson & Wilde, 2012): A theme being managed to develop a great experience offers a last longing outcome, the event memory. The event meaning expressed through the theme and felt by the experience remain in the customers minds and the memories are shared with property to their friends connecting more people to the event brand. The more effective way to reach it are the ‘Wow factors’,“designed moments when the raison d’être of the event signified to all participants.” (Bladen et al., 2012)

Bladen et al., (2012) describes that the thematic experience can be applied on the key areas of customer logistics Ticketing, Transport, Queuing and Accommodation. Due the focus of this research was emphasized the studies on the second and third key areas. To create a ‘Wow factor’ on the customer journey, the event managers cannot consider the travel to event as a factor outside their control and thus not their concern, according to Bladen et al., (2012), that is a common mistake. Co-working with the local authorities the event organisation can build special arrangements in the city enabling that customers and partners are going to reach the event comfortably and efficiently as possible. The entry queues are the limit between the end of the journey experience and beginning of the event experience. At this stage, is recommend that the queue should be simple, far from rain and hot sun, signalized and, when possible, displaying the waiting time. (Bladen, Kennell, Abson & Wilde, 2012). Therefore, the event organization, making sure that the waiting as pleasant as possible, guarantee a best experience at this touchpoint.


‘Experiencescape’

SERVICE

SERVICE

PRODUCT

EXPERIENCE

EXPERIENCE

Events Management: An introduction

‘Experiencescape’

Events Management: An introduction

PRODUCT

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Sponsorship in Olympics “(Olympics is) a platform for advertising and promotion like no other” (Williams, 2012)

A big event as the Olympic Games is a unique opportunity for sponsors, “ a platform for advertising and promotion like no other” (Williams, 2012). The sponsors agree with it “For us it’s an unbelievable opportunity for us yo touch people in a very profound way that once in a lifetime a brand can do” said Claudia Navarro, Global Olympic marketing director at Coca-cola to Creative Review, last August.

However, as huge as the sponsorship opportunity is, the Olympics set challenging limitations to the sponsors. As Beth Lula, Rio 2016 Brand Director, pointed out the Olympics venues are commercially clean.

The Challenge

The Olympics do not allow any sponsors, not even those partners whom have been sponsoring the Games for decades, to stamp their logo within the competitions areas. “The Olympics is one of the most expensive [events to sponsor], but it’s also the one that probably you get the least from.”

(Williams, 2012) stated Phil Rumbold Cadbury UK’s marketing director in 2005. In the same article Rumbold, stressed “With the Olympics you actually get very little by rights,” and he exemplified “If you think about the Champions League, or most other sporting things, for your money you’re guaranteed a presence at the venue - advertising boards, interview backdrops, all that kind of stuff “ “The Olympics is one of the most expensive [events to sponsor], but it’s also the one that probably you get the least from.”

(Rumbold cited in Williams, 2012)

Griser (2007) Sousa (2012)

Riverbank Arena , London 2012 52

Sponsorship inside the venues

Dynamo Mynsk stadium, Champions League


Therefore, to have the return of the investments applied into the Olympic Games, the sponsors are forced to be creative and far from the regular way of sponsoring. As Craig Wills, head of planning at Fallon indicated “I think if it just becomes a badging exercise, then you’ll probably fall foul to it. If you can really embrace it and deliver useful stuff that rewards people and links into sponsorship around the Olympics, you can have a great time with it, and you can also have a very rewarding sales platform.” (Williams, 2012).

Overcoming the Challenge

event such as the Games. Craig Wills, about his creative work for Cadbury in London 2012, recommended “You have to allow it to seep through the veins of your organisation.” (Williams, 2012) The challenge is less harder for brands connected to sports due they have similar values. However, it does not means it is restrict to them, for instance, Coca-cola that according to Creative Review has a relationship with the Olympics of 84 years, created its links to event connecting the brand, youth culture and sport.

Accepting to invest money sponsoring the Olympics means accepting the challenge. To overcome this challenge, the Olympics demands creative strategies from the brands. As Eliza Williams described for Creative Review in its August issue “The brands that create the most compelling, inventive advertising campaigns have the most chance of breaking into the public consciousness during the Olympics” (2012)

At the Londoner Olympic Park, Cocacola invested on brand experience. The brand designed a space that attracted people from its venue’s route for a unique experience. Navarro, about it highlighted, before the Games get started, “It’s actually a very, very, unique structure, it almost looks like a garland. We think it will be difficult to miss that it is the Coca-Cola pavilion and we trust that it’s going to be so special and unique that there’s definitely going to be word of mouth around it.” (2012)

For it, the companies need to use their brand values in connection to those from Olympic movement, for, in that way, succeed sponsoring the big

For London 2012 the company created a theme inspired by the host city’s musical and cultural heritage.

Based on it, the company developed the “BeatBox”, a building designed to be experimented. “For brand Coca-Cola, we’re using a creative construct that uses music to draw upon youth and get them closer to sport, get them talking about sport.” defined Navarro about the ‘Beatbox‘ objective. In that way, even not being a sport-brand, Coke made relevant the connection between its brand to the Olympics values. “I love the Olympic games and I think the fit with brand CocaCola-which is all about togetherness and happiness-couldn’t be better.” (Williams, 2012) emphasized Claudia Navarro.

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Benefits of Sponsoring Eliza Williams, for Creative review threw the lights on the brands power “Interestingly, while it is designed in red and white, the distinctive colours of Coke, there is no overt branding or logo on the pavilion itself. “ As just presented, sponsorship is an opportunity to reinforce the coherence and consistency of the brand.

Rory Sutherland, vice-chairman of Ogilvy & Mather UK, stressed about the benefits of being coherent and consistent as following: “There is a very strong thing in human behaviour called the recognition heuristic, which is that we react very differently to enacting commercial exchanges with companies we’ve heard of versus companies we haven’t.

My degree of confidence in buying from a company which is famous and enjoys a widespread reputation is considerably greater than from buying from someone I’ve never heard of, and I will pay a considerable price premium in the marketplace for the reassurance that fame brings me. “ In addition he completed highlighting that “It isn’t just a matter of selling to

Coca-Cola Beat Box, Olympic Park Sousa (2012)

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consumers, it is much easier to recruit highly talented and motivated staff if you’re British Airways than if you’re Air Zog.” (Williams, 2012) Those variety of benefits able to be achieved, according to, depends on a number of factors, he said, “but there is no doubt that a properly activated worldwide Olympic sponsorship can deliver on multiple objectives, from improved brand strength measures to increased sales.” Therefore, in spite of having a series of limitations considerable results can be achieved. As Jim Andrews, a senior vice president at IEG concluded to Forbes “These partnerships can be worth it for truly global brands who can leverage their rights in hundreds of countries. They obtain a powerful association that can provide a competitive advantage by enhancing their advertising, promotions and other messaging.” (Smith, 2012)

Olympic Park Sousa (2012)

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Sponsors in London 2012 For this research aim, was conducted an observation on sponsors’ stands built for London 2012. This method was used in a competition area, Olympic Park and in a non-competition area, the fan park “BT London Live Hyde Park”. The Olympic Park strictly follow the rules of “commercially clean area”, reserving the areas among the venues for the sponsors create their brand experience spaces.

EDF as described before with Cocacola example is a company that have to built artificially the bridge between its brand to the Olympics due its service is not directly connect to sports.

and brand values. In addition, in the centre the company provided an interactive “mini power plant” where the visitant could create a short amount of energy.

For it, the company built a pavilion for the Olympics’ ticket holder feel the experience of energy generation, connecting its production to the athletes. The experience had two stages: a short-film exhibition and a invitation to the spectators to produce energy in group. At this second stage, EDF designed a space that used the walls to broadcast its services, projects

About the experience of EDF pavilion, it is important to highlight the concern with the queuing. The company designed a simple but good project with totems with athletes images to take picture with and experience information messages, such as those recommending the download of augmented reality the app of for be used inside the experience pavilion.

Virtual Tour to EDF Pavillion

Sousa (2012)

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Sousa (2012)


The same concern with the experience queues could be noticed at CocaCola BeatBox Pavilion. At this brand expression, the company invested on brand ambassadors to interact with the people in the queue, either talking or playing games with them. As highlighted before, could be felt the experience between music and sport through the walk through the building until reach the top of the building. The roof of the building present the first ‘wow factor’ an opportunity to hold the Olympic torch and to share it by offering a chance to publish the experience on the social networks . After that, on the way down a ultimate ‘wow factor’ of Coca-cola an opportunity to savour the product watching a live street dance performance, creating their ‘Experiencescape’.

Internal experience at Coca-Cola BeatBox Sousa (2012)

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Last but not least, the Acer pavilion was the third sponsor’s brand experience visited in the Olympic Park. Under the theme “Journey to Beyond�, the brand promised an experience through Acer technology. Based on an integrated platform of games, Acer offered the visitor an opportunity to get in touch with their range of products.

Acer pavilion, Olympic Park Sousa (2012)

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Through the use of a given card, the visitor could have access to the games at computers, tablets and notebooks, just inserting the device into a special reader. After finishing the game, works as well as a points collector, and a login key. Unlike the others brand experiences previously discussed here, that designed specific themes to be

connected with the Olympic Movement values, Acer presented in your pavilion a products-driven experience that in spite of the games has the sport as background, do not embedded at all the Games spirit.


Away from the competition areas, it was also observed a fan area, a place with giant screens broadcasting live many Olympic competitions. For this research, a observation was made at “BT London Live Hyde Park”during the Olympic Games. As a brand experience, Samsung among the other brands around the area, stood out. The company aligned its brand to the Olympic characteristics, embedding the Pin Trading culture. The trade of pins is a tradition during the editions of the Games, and Samsung created its own pins and trading environment. Connecting this Olympic experience with the promotion of its products Samsung, designed a experience of trading that called “Samsung Live Mobile Pin” that involved pin trading through different points of the London.

BT London Live Hyde park Sousa (2012)

Pin trading at Samsung Live Mobile Pin Sousa (2012)

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03

JOURNEY EXPERIENCE IN EVENTS

2011 Rock in Rio

Purpose: Design Experience for big events The last edition of the world’s biggest music festival (Billboard, 2003; The Independent, 2011) took place at the Athletes’ Park, the first new venue for the Rio 2016 Olympic Games to be completed, five years before the Opening Ceremony. In that way, thousands of customers travelled, during one week, using the transport system, to the event held in an Olympic destination.

Thematic Bus pass (on the right) Rock in Rio Blog (2011)

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Rock in Rio last year explored some characteristics of the local transport system that going to be explored also during the 2016 Olympic Games. For instance, the public transportation was the most encouraged way to reach the event, according to the current strategy adopted by the city, as Regina Oliveira, Rio 2016 Transport Director, argues “the rationalisation of the quantity of vehicles in transit is one of the main objectives, both for big events and for the legacy” (2012). Following this policy, the music festival in partnership with the local government developed the “Riocard Special edition”(2012), a bus pass to be used by the customers on the event day purchased.

In addition, as an alternative from the regular lanes, special bus lanes were created offering an exclusive and fast route straightforward to the event. Roberta Medina, Executive Vice President of Rock in Rio, defined “The festival needs to minimally have an impact on traffic and life of people living in the city.” Thus, the music festival developed a series of attitudes to enhance the customer journey experience according its brand’s theme: “Rock in Rio, for a better world” (2011).


QUESTIONNAIRE & OBSERVATIONs

Purpose: Spectator Journey Experience The primary research took advantage of the fact that Rock in Rio 2011 happened at a Rio 2016 venue and the Londoner preparation for hosting the 2012 Olympic Games. Aiming to understand how the spectator enjoyed the experience doing a similar journey that could be done in 2016, was chosen a questionnaire. In addition, to understand how is the experience of spectators heading to an Olympic venue, was selected an observation practice during the London Prepares Series (a series of sports events held in Olympic venues).

Questionnaire - Rock In Rio 2011

During two weeks of May 2012, fiftyfour people answered qualitative questions about the Rock in Rio experience on transportation. The results presented that majority of those people participated on the 2011 edition (79,6%), enjoying one day of the event (77,8%) and decided to go due their favourite artists (37%).

problem while deciding to enjoy the event (64,8%), and agreeing with the authors of “Event Management: An Introduction�, 90% of people stated that customer travel is part of big event experience. In that way, the festival offered exclusive buses for its customers and the survey showed that majority of the people asked used it and defined this journey option as efficient and comfortable. When asked about what can be pointed out as important on the journey to a big event like Rock in Rio, comfort and efficiency appears as essential. The top five choices in preference order are: 1- Efficient public transportation 2- Exclusive bus lines towards the event Proper information and signaling 4- Comfortable waiting areas, bus stops and queues 5- Comfortable transportation (57,4%) Moreover, the asked people shown that appreciate background songs while travelling to the festival. They highlighted that music/sound during the trip make them feel part of the event, even being just on the journey for it.

The numbers demonstrated that the journey was not considerate a 61


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Observation - London 2012 In the first week of May, was observed the spectator journey experience towards event test held in the Londoner Olympic Park. The first step recommend by London 2012, checking the special website created to plan the trip in advance, was skipped due it does not include May. Therefore, the journey considerate for this observation cover the underground trip and the walk between the tube station and the Olympic Park. At Stratford Station, as long as is reached the tube platform could be noticed the special London 2012 signaling guiding the Olympic Park way. Using the pink colour of 2012 Olympics logo as background, they highlighted among the station signs and making customers feel comfortable walking in the right way.

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After the turnstiles, a high sign is responsible for sharing the Olympic customer and the Westfield customers. The reason for it, can be explained by the peculiarity of the 5-10 minutes walk distance until the venues passing through a big shopping mall. To avoid, the customers get lost at this walk way was used high pink signs in the critical decisions points to design the Olympic Park route.

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However, as the first curve that the customers should take the escalators is a confusing point, was positioned Olympic staff wearing pink big-hands to guide the people. That was a critical point observed, because the staff is also responsible for giving instructions for the customers and while doing it their stay natural, it means, do not point the way for the walking customers.

Inside the Olympic Park, could be noticed that the venues was almost prepared, some adjustment were taking place while the event tests was happing. Analyzing the signs, the colour identity observed outside was kept, and at the signs the venues directions received the company of its icon images. Good alternative for reducing the misunderstood finding your purchased event since the areas and the venues are brand new.


Observation - London 2012 In the first week of August, during the last edition of the Olympic games, was observed the spectator journey experience from Uxbridge until the Olympic Park, in Stratford. During the Games, the first step taken was checking the special website created to plan the trip in advance, as recommended by London 2012. Therefore, the journey considerate for this observation started at home, (contacting the ticket and the special website) passing through the public transportation and until reach the venue at the Olympic park. For this second observation, aiming to collect a similar experience compared to the May one, another person was chosen to follow the directions towards the Games venue. The journey started checking the information stamped in the thematic ticket. Then, through the special website GetAheadOfTheGames.com, could be noticed the faster route to be taken.

Arriving at the Uxbridge Station, the journey starting underground station, there was a small queue at the turnstiles. Passing through it, the train reach the station at the time indicated in the website. Then, a pleasant trip was taken until reach the interchanging station. Here the first difference between the journey taken three months before, the number of signs increased considerable. The magenta signs were bold and clear point the directions. Walking through the station, just once could be notice a confusion with signs. The route indicated via the website were different than the route stamped in the stations wall. However, it was respected the route recommended by the website. Probably, a delay in the main route, could be the reason for the website indicate an alternative route. Reaching Stratford tube station, could be noticed again an increase on the magenta signage. Specially, in the signs located close to ceiling, almost creating a long “stripe� made of signs.

were dressing up new fences that designed a corridor that guided the flow via a different route compared to May. Now, the people do not pass through the Westfield. Surrounded by a great number of volunteer the way towards Olympic Park gate was safe and easy. Finally, the journey reach the last part, a walk inside the Olympic heading to the venue. There the sign were more bold, due the high beacons installed for the Games period. Presenting the icons of each stadium, the signalization were consistent with the design of the tickets. While getting closer to specific venue, the colours of the ticket match with the colours of the venue. Making the spectator feel comfortable that is reaching the right place.

At this time, the volunteers with the big-hands were not alone highlighting the way to the Olympic park. Banners 65


Observation - London 2012 Shadowing a spectator

Checking the information in the thematic ticket. Then, the fast route at the special website GetAheadOfTheGames.

The increased number of signs were bold and clear pointinting the directions

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Reaching the recommended station

Station sign points a dierent route. But, it was respected website recommedation


Following the signs at Stratford Station

67


Station to the Olympic Park: spectator walking guided by the well distibuted magenta signage and the proud volunteers

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DISCUSSION

01

CONNECTING ESSENCE TO STRATEGIC PILLARS

Analysing Rio 2016 scenario, could be noticed similarities between its Strategic Pillars and the Brand Essence, because both have elements with common roles. In that way, allowing, for the aim of this research, the combination of some of their elements according to their roles in Rio 2016. The Brand Essence’s element “Passion” is directly linked to the Strategic Pillar “Memorable Celebrations” in the responsibility of express the Brazilian soul, or in Simon Anholt words, the country “Joy image”.

PASSION

Memorable

Celebrations

On the other hand, “Transformation”, the other brand essence element, with the Strategic Pillar “Technical Excellence” are in charge of showing the current stage of Brazil. The country is passing through an optimist economy moment, and has the chance, through the 2016 Olympic games, to prove to the world that Brazil can offer to the world more than great parties. Therefore, for this research was defined this two combinations (Passion/Memorable Celebrations & Transformation/Technical Excellence) to indicate where during an Olympics’ spectator journey to the Games can be noticed the Rio 2016 values.

TRANSFORMATION

Technical

Excellence

69


02

THE OPPORTUNITY

After clustering the Rio 2016 elements by affinity, the following step was use them to evaluate the spectator journey. For it, the Journey Observation taken during 2012 Olympic Games in London was very valuable. Because, with it was possible to define that the spectator’s day heading to the games has three stages: Pre-Journey, Transportation Journey, Post-Journey. In the first stage the spectator get in touch with the tickets and analyse the most efficient and comfortable way to reach the venue. Due the great flow to the event is recommended the use of public transportation. According to the data collected during the London 2012, a branded website built in partnership with local transportation department offers the first event touchpoint of the day. Thus, it is offered, through the brand values of the Games, the best route to reach the wished venue. In the “Post-Journey” stage, the Games Venues are, according to the interview with Matthew Buckhurst, FutureBrand, the stage that concentrate the biggest 70

efforts to deliver a complete/unique brand experience of the event for the spectators. For it, is combined the investments on excellent infrastructure and in the development of a coherent and consistent brand identity and design. The “Transportation Journey”, is the stage that according to the outcome of the Questionnaire, taken with the spectators of Rock in Rio 2011, the passengers mainly expects reaching the destiny in the most efficient and comfortable way. Just it. However, the results also presented that the passengers were open to experiences. After defining how a day of the Olympics’ spectators is shared, it was necessary to define it into Rio de Janeiro reality. For it, the research combined the information collected about the investments to enhance the high capacity transportation in Rio for 2016 and the Rio 2016 elements linked previously. Thus, it was designed a future Olympic spectator journey for the Games in Rio. Considering that, as the London 2012 analysis presented, ticketing and journey planning must be, also in 2016,

the first touchpoint with the brand and the Olympic venues dressed up to express the event values, the last one. In that way, it was noticed that Rio 2016 has potential to fully spread its values during the Olympic spectator journey, except for the “Transportation Journey” stage. Although, at this stage the spectator just demands to reach the venue well and on time, here an opportunity is designed. For Rio 2016, the three levels of government are investing in the adoption of two novel means of transportation for the city (BRT and Trams-VLT) and the development of a brand new Underground Line. In other words, the local governments are investing in Technical Excellence to transform the city. Perfectly addressing the spectators need. However, all that investment could be not take into consideration by the spectator if this stage do not stick on their minds as a subject of future talks about Rio 2016 experience. The experience needs to last longer in spectator memories and for it, Rio 2016 has the an opportunity to add at this stage its most remarkable elements: “Passion and Memorable Celebrations”.


JOURNEY IN 2016

THE OPPORTUNITY

SPECTATOR

JOURNEY IN 2016

SPECTATOR

Pre-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable Celebrations

Pre-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable Celebrations

Transportation Journey

TRANSFORMATION

Technical Excellence

?

Transportation Journey

TRANSFORMATION

Technical Excellence

?

Post-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable

Celebrations

Post-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable

Celebrations

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03

SEIZING THE OPPORTUNITY

At the considered spectators journey for 2016, can be noticed that Rio 2016 experience answers what the ticket-holder demands. However, an opportunity to enhance the Olympic games experience in Rio appears in the “Transportation Journey” and Rio 2016 has the tools to seize it.

SPECTATOR

JOURNEY IN 2016 + RIO 2016 BRAND EXPERIENCE

An opportunity to surprise the Olympics’ spectators and to exceed their expectations.

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For it, according to the findings, Brand Experience can play this role. A designed experience, as Bladen et al. pointed out adds affective elements to an event. In that way, justifying that “Passion & Memorable Celebrations” can be spread by a Brand Experience with the Rio 2016 values.

Technical Excellence

Delivering in that way, if applying a brand experience of Rio 2016 in the “Transportation Journey”, a long lasting memory of the event.

On the top of that, the result of combining brand essence and strategic pillars is more than delivering a pleasant journey to the customers, this combination deliver also an unforgettable Memory.

Pre-Journey

TRANSFORMATION

According to the Bladen et al. Memory is one of the most powerful element of an event, “As attendees return home, the main residual effects of an event’s concept and outcome remain in their memories” (Bladen et al., 2012)

PASSION Memorable Celebrations

Transportation Journey

TRANSFORMATION

Technical Excellence

Rio 2016 Brand Experience

?

Post-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable

Celebrations


RESULT SPECTATOR EXPERIENCING DURING A FULL DAY THE RIO 2016 VALUES

Pre-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable

Celebrations

Transportation Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable Celebrations

Post-Journey

TRANSFORMATION

Technical Excellence

PASSION Memorable Celebrations

73


DISCUSSION

Developing the Rio 2016 Brand Experience

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After defining “The Opportunity”, the following step is the development of the Brand Experience within Rio 2016 values. Rio 2016 has an opportunity to add “Passion/Memorable Celebrations” to the “Transportation Journey” used by the spectators to the Olympic venues. The transport for 2016 is an icon of the investment on Technical Excellence that will leave a transformation legacy for the city. In that way, aiming to immerse the spectator into a full day of experiencing Rio 2016, “The Opportunity”, in spectator’s journey, ends up outlining a Thematic “Experiencescape”. An area where brands in partnership with Rio 2016 can use the Theme “Passion & Memorable Celebrations” to evoke spectator’s emotion through experiences. Considering that, the novel means of transportation (Underground Line 4, BRT, Trams) will link the four Olympic competitions areas in a “Ring”, the experiences designed upon an

unique Theme will create a ‘Thematic “Experiencescape” Circuit’. In other words, sewn by the same Theme, the experiences will deliver a consistent message to be felt by the spectators either while they travel to the Olympic Park or towards Beach Volley Arena. In that way, Rio 2016 will be creating an unique point of interaction between brands and people. For instance, Olympic’s sponsors have a chance to answer the consumers demand for experiences, and specifically for this case on transportation, that is an offer to create an unique experience during a stage that spectators do not expected to be surprised. However, to reach it. Brands have to face the following stage. Design the most suitable experience strategy for its brand. For it, Rio 2016 and its sponsors brands needs to be aligned to consumers demands for experience and to focus on optimise the right experience element according to each brands objectives.


Firstly, they can use the “Top Experience Drivers to unique brand experience’’ highlighted by Jack Morton. Through this ranking list, the brands can develop their experience strategy upon these Drivers, due they are result from a customer research about experiences. Secondly, the same agency research can help on the selection of the kind of experience can be developed by the brands. According to each company objective and due characteristics of the three novel means of transportation focused on this research, Sponsors and Rio 2016 can optimise at the “Transportation Journey” their following elements: Discovery Experience, User Experience and Digital Experience. Immersed into the Theme, and defined the objective of the experience the next step is how to create a emotional and memorable experience.

Rio 2016

Add Passion & Memorable Celebrations

to

Transportation An icon of Technical Excellence and Transformation

has an opporunity

THEMATIC EXPERIENCESCAPE

outlining a

Creating a unique point of interaction

Opportunity for designing an unique experience

?

How to design it

according to each brand objective

combining

TOP EXPERIENCE DRIVERS To understand consumer experience demand

+

The right EXPERIENCE ELEMENT(S) to be optimise

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Meaningful Unique Experience As Lisa Cox stated “People give meaning to their lives through experience.“ (2008), and that is the principle that defines a memorable experience. A unique experience with a strong meaning lingers in the memory of those people who lived it. In addition, the brand message is spontaneously perpetuated by them while sharing the experience on conversations with relatives and friends. For 2016, the Rio 2016 organisation aims to deliver the “Most human Olympics” (Lula, 2012) for it was designed for the Games Multisensory

Brands. Inspired in Rio and Athletes the brands make tangible the proposal of the committee. Guiding, in that way, how to provoke unique experience with Rio 2016 values into the spectator journey in 2016. According to “Process of Experiencing” described by Cox and the design experience guidelines from Bladen et al, Rio 2016 can seize “The Opportunity” using the “Thematic Experiencescape” as following:

01 - To perpetuate the brand promise, and make the message last long on spectators minds the brands involved need to be coherent and consistent aligned through the same Theme.

For it, the tool “Brandirections”seem to be very clear and inspiring to guide the development of each Brand Experience upon Rio 2016 values.

02 - Developing the experience a

crucial element to make it remarkable is the “Wow Factor”. Used relevantly it will enhance the surprise of the spectators, as the “Transportation Journey” is an unexpected area for Rio 2016 experiences.

03 - Once applied into experience this

element will catalyse its power and evokes spectator sensory perceptions, giving emotional meaning for the information, product or value stressed by the brand experience.

DESIGNING EXPERIENCES FOR RIO 2016 SPECTATORS Based on Lisa Cox and Bladen et. al

THEME Experience PASSION Memorable

in the

Transportation

Sensory Sensory Emotion Perception Perception

Meaningful Experience

Celebrations

WOW FACTOR 76

Spectators living the experiences

Long lasting MEMORY Spectators re-living the experiences


04 - Delivering, in that way, for the

spectators a Meaningful Unique Experience. That is the ultimate moment that spectators link strong meaning to brand product/service into the Rio 2016 experience. As most as the partners brands jump into the “Thematic Experiencescape” more friendly the brand experience will sounds to the spectators that felt the Rio 2016 brand values in the “Prejourney” and is expecting feel the it again just while reaching the wished venues. Results For Rio 2016, the result is a full day submerging its spectator into the 2016 Olympic games values. Seizing “The Opportunity” the Olympic spectators are going to reach the venues more excited, more into the Games spirit.

memory of the experience, because as Bigham pointed out “In the end of the day, people remember what they experience”. Provoking talks, giving subjects for people talk and making them proud to share that they lived a unique experience. Consequently, the Brazilian Country Image also get benefit. Unique Rio 2016 experiences in the city’s transportation provoke spectators sensory perception during their journey before reaching their venues creating an affective memory of the moment. Lingering in their memory the experience lived inside the Rio’s Transport system, the icon of investment in Technical Excellence by the government. Therefore, the spectators will be able to taste the current status of the country, and Brazil proves that can host more than great parties.

For the sponsors, brand experiences under an unique theme “Passion & Memorable Celebrations” consolidate the partnership with the Olympic Movement, enhance customer loyalty and improve brand awareness. For Rio 2016 and sponsors brands, the result is a consistent and long lasting 77


Journey Touchpoints As a result of to the comparison between the two journey observation taken could be pointed that there are seven main touchpoints. The “way to transport� is the first stage of the journey. Here is the first impression of the route recommended. The queues are the first critical point of the journey.

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The wait in the station for the transport is the place that the passenger want to stay the less time as possible.

The destiny station, is the moment that the spectators start to wonder the experience about to start in the venues.

The transport trip is the longest moment of the journey, here the passenger usually is trying to get entertained by themselves.

The way to the venue, is the moment that they just follow the flow. Misunderstanding here could ruin the experience


Experiences in London 2012: Industry Examples * The digital experience

Coca-Cola was a good example of this kind of experience. On the top of the BeatBox building besides offering the unique experience of holding the Olympic Torch the company also offered the opportunity to register it and share in real time via social media. Extending, in that way, the Coca-cola experience to a different platform.

* The discovery experience

Samsung, in Hyde Park, presented a thematic way to attract spectators to know their products. By involving them on the tradition of Pin Trading, the brand stimulated the people get in touch with their products features, and understand their brand values.

* The user experience

During the observation in Hyde Park, the clients of BT could taste this experience. Although BT London Live was a free entry event, inside the park just BT customer could enjoy the free wi-fi and get access to exclusive areas, awarding its service users and provoking desire in the non-users. Through this experience the company gave a premium status for their clients. 79


RECOMMENDATIONS 80

After defined “The Opportunity”, and developed the guidelines to design an experience for Rio 2016’s spectator journey, as the aim of the research, the next step is to, based on them, deliver Brand Experience Strategy recommendations. Remembering that, as Beth Lula, Rio 2016 Brand Director said, the Olympic Venues are “commercial free”. As this rule build a barrier to (sponsors) brands communicate inside venues, a cobranding experience between Rio 2016 and partners in the “transportation journey” are presented as a strategic solution to seize “the opportunity”. Because with it, partners use “Passion & Memorable Celebrations” to develop their experience, and in that way, deliver a long lasting memory for the spectator of their brand promise linked to Rio 2016 values. Therefore, the following research recommendations are focused on guides Rio 2016 and its sponsors developing multisensory experiences to deliver a long last memory of the event with balance between both brand values.

Todesignco-brandingexperiences Rio 2016 has as aim deliver the “most human edition of the Games” (lula, 2012) and its brands express the Multisensory characteristic. In that way, the brand experiences to deliver a remarkable memory need to has as premise: explore the spectator senses. Upon this idea, this research recommends to the brands involved more three steps: “choose the experience”, “choose where to apply” and “use consumers experience directions”. Embedding the theme “Passion & Memorable Celebrations” and Multisensory idea, a sponsor brand, firstly, have to define what the most suitable experience for its current brand strategy. After choosing what senses match with the experience chosen, the following step is the analysis of profiles of the three novel means of transportation. According to each brand purposes, the sponsors can explore the central theme focusing on a specific area, specific kind of spectators and specific transport characteristics.


On the top of that, this research recommends to select between three important moments of the spectators journey: queue, station and inside the transport. Finally, reaching the last step the partners brands can use the “Top Experience Drivers” to enhance the experience to a ultimate level. Through this stage, the sponsors align they experience of what Jack Morton research presented as the elements demanded by the consumers, increasing the success of the “WOW Factor” development. Therefore, following this strategy Rio 2016 and its sponsors build a meaningful and unique experience linking both brand values. In addition, exploring the spectators senses the co-branding experience lingers on their memories stimulating the values being spread with property in talks to those people that did not lived the experience. The next pages, present the each strategy step detailed and last but not least three examples matching them for a specific objective.

EXPERIENCE STRATEGY

1

2

Choose Exerience

Expolore the senses

3 Choose where to apply

4 Use Consumers Directions

Experience in the

Transportation

WOW FACTOR 81


1

82

Choose the Experience Digital Experience

Discovery Experience

User Experience

Objective People learn about Brands

Objective Brands connect to people after sale

Benefits

Benefits

Benefits

Customer Loyalty

Customer Loyalty

Customer Loyalty

Customer Revenue

Customer Revenue

Customer Revenue

Customer Acquisition

Customer Acquisition

Customer Acquisition

Marketing Effiency

Marketing Effiency

Objective Brands being relevant at today’s town square


2

Explore the senses

HEARING

TASTE

TOUCH

SIGHT

SMELL

ALL SENSES 83


Choose where to apply 3 BRT System

Trams (VLT)

Underground L. 4

Interchange

High Capacity

Medium Capacity

High Capacity

BRT-TRAM (Port area) Popular/Historical/cultural Innovation-Regeneration

Popular/Sports

Historical/Cultural

Tradition/Touristic

Ticket-only stations Metro-style stations

400m-distance stops 3 of 52 are Big stations

7 new stations (6 at southern zone)

Undergrounds (1,2,4)

BRT/Undergrounds/ Trains/ferry boats/Airport

Underground(1)/BRT

(including Olympic park)

Rio 2016 Media & Referee Village

Copacabana competition zone Hotel area

Innovation

Regeneration

Integration

3 competition zones

Queues 84

Stations

Inside Transport

Underground 4 -BRT Tradition/touristic/high income Integration-Innovation

CENTRAL STATION Undergrounds (1,2,3) -VLT Regular Buses-Trains Popular-Innovation-Regeneration


Use consumers directions 4 TOP EXPERIENCE DRIVERS OVERALL

TOP EXPERIENCE DRIVERS TO UNIQUE BRAND EXPERIENCE

01 Products and services that meet your needs 02 Understands your needs 03 Continues to serve and engage you

01 Initial impression the brand makes on you 02 Continues to serve and engage you

after you’ve become a customer 04 Exceeds your expectations 05 Makes it easy to find information and buy their products, wherever and whenever I want to shop

after you’ve become a customer 03 Understands your needs 04 Differentiates from similar products 05 Employs people who anticipate your needs

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Manage a story with beginning, middle and end

1

Experiences examples

2

3

4

User Experience All senses Queues + Stations Underground line 4 - Continues to serve and engage you after you’ve become a customer. - Exceeds your expectations

Using this combination, the spectator can be involved according to the transport characteristics. The queues and the stations of the novel line of underground could be used as steps of a involving story. Exploring these waiting areas, the brands can stimulate spectators senses making them live an experience that will accompany them until reach the wished destination. Aiming to enhance customer loyalty, sponsors brand , using Rio 2016 values, can design an exclusive story for its users. Experiencing at every stop a piece of an special story. 86

Music experience transport

1

2

3

4

within

the

Digital Experience Hearing Inside the transport BRT System - Exceeds expectations

According to the questionnaire answers, the spectator heading to a big event consider the journey part of the event. In addition, 39% agree that music make them get into the event spirit but 35% stated that “I don’t care”, so here the “hearing sense” waves as a sense to be explored. However, considering the relevant number of “neutral” answers, a digital experience here is recommended. Because by this experience the brand give to the spectator the choice of enjoying the experience. *As the development of technology in the region in 2016, this experience can be extended to this new metro line.

Wayfinding as a process of brand discover

1

2

3

4

Discovery Experience Sight Stations Trams - VLT (big ones) - Exceeds expectations - Initial impression the brand makes on you

The signage system observed on London transportation was bold and clear spread through the whole extension of the transport journey. Specially in the stations the sign create a flow connected step by step. Here’s the opportunity for a discovery experience. Brands can use this “treasure hunt” characteristic to engage the spectators to discover their values/attributes. A discovery experience at this point of the journey is a challenging promotion chance for brands. Here experiences need to be specially design to be relevant to the route, avoiding to visually pollute it, ruining the signs main purpose.


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CONCLUSION 88

In 2016, Rio de Janeiro will host the first edition of the Olympic Games in South America and it represent a unique moment on the local development history. Aware that it would be an opportunity to improve Brazil image, the three levels of Government are investing on Technical excellence to deliver a Transformation Legacy for the city. The transportation is one of the areas under development. Rio de Janeiro is adopting three novel means of transportation, and it will represent a new way of using the public transportation. Through this brand new route, thousands of spectator will pass towards the Olympic Games venues. They want to get there: comfortably and on time. (According to the conducted questionnaire) Here is the opportunity. As a result of the analysis of the “Discovery” stage, the research defined the “Transportation Journey” as an opportunity for adding “Passion & Memorable Celebration” to the icon of “Technical Excellence & Transformation”. Here comes the Design&Branding Mission.

Aiming to seize the opportunity, this research focus on designing a brand strategy to immerse the ticket-holders into Rio 2016 values from their home/ hotel until the wished Games venue, enhancing their experience and delivering a long lasting memory of it. Studying brand experiences and experience design practices was possible to develop a bespoke “Designing Experience” framework for Rio 2016 characteristics. It was possible thanks to a combination of secondary and primary research focused on experiences. That, then, was aligned to the event linking the information to Rio 2016 knowledge. Through the studies about Rio 2016, it was possible to note that an experience for the Brazilian Olympics should be multisensory. This characteristic has the power to create the “Wow factor” in the spectator experience, caring the values of Rio 2016 to deliver a meaningful unique experience. Moreover, the analysis of experiences design practices revealed that sponsor plays a special role into the Olympic experience.


In addition, aligning the sponsorship expressions under one only theme could deliver a consistent outcome involving the spectator into a aligned mix of sponsors and event values. To guide it, this research recommended a Brand Strategy to be used by Rio 2016 and/or its sponsors. Connecting the four steps, they are able to create multisensory experiences aligned to sponsors brand message that will captivate the spectators into the Rio 2016 essence. Therefore, the spectators journey will exceed expectations, delivering excited fans immersed on Rio 2016 spirit, to the wished venues. Enhancing Rio’s Olympic Experience and delivering a long lasting memory of the experienced lived. Living a memorable experience on spectators’ minds will inspire them to share the experience and around the world provoke genuine promotion of Rio 2016, Rio de Janeiro and Brazil image.

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Cilas +55 21 9512-4797 cinaso@gmail.com flavors.me/cilas

Designing Experiences for Rio 2016 Spectator Journey [Brunel University]  

How to design brand experiences during the Rio 2016 spectator journey to enhance Rio’s Olympic Experience and to deliver long lasting memori...